A method to analyze the sound environment and its relation with typical professional tasks is described in which structured non participative observations are combined with audio recordings. First results of a field study are reported, directed towards the day shift of hospital nurses, working at a surgical ward. With this method we want to contribute context specific outcomes which we consider a prerequisite for the design of dedicated laboratory experiments which can reveal insights transferrable to natural work settings. In our reading of the literature we see many studies on task-sound interaction with one or more of the following shortcomings: 1. The sound conditions used in the experiment are not representative for the dedicated environment. 2. The experimental task is not representative for tasks performed in the dedicated environment. 3. The task-sound interaction is such that subjects are instructed to ignore environmental sounds while in real life they first need to attach meaning to each sound in order to decide whether it is (ir)relevant. It is our expectation that the proposed method helps design experiments that overcome these shortcomings.
Predation risk is a major driver of the distribution of prey animals, which typically show strong responses to cues for predator presence. An unresolved question is whether naïve individuals respond to mimicked cues, and whether such cues can be used to deter prey. We investigated whether playback of wolf sounds induces fear responses in naïve ungulates in a human-dominated landscape from which wolves have been eradicated since 1879. We conducted a playback experiment in mixed-coniferous and broadleaved forest that harboured three cervid and one suid species. At 36 locations, we played wolf sounds, sounds of local sheep or no sounds, consecutively, in random order, and recorded visit rate and group size, using camera traps. Visit rates of cervids and wild boar showed a clear initial reduction to playback of both wolf and sheep sounds, but the type of response differed between sound, forest type and species. For naïve wild boar in particular, responses to predator cues depended on forest type. Effects on visit rate disappeared within 21 days. Group sizes in all the species were not affected by the sound treatment. Our findings suggest that the responses of naïve ungulates to wolf sound seem to be species specific, depend on forest type and wear off in time, indicating habituation. Before we can successfully deter ungulates using predator sound, we should further investigate how different forest types affect the perception of naïve ungulates to these sounds, as responses to predator sound may depend on habitat characteristics.
MULTIFILE
Noise is a common problem in hospitals, and it is known that social behavior can influence sound levels. The aim of this naturally-occurring field experiment was to assess the influence of a non-talking rule on the actual sound level and perception of patients in an outpatient infusion center. In a quasi-randomized trial two conditions were compared in real life. In the control condition, patients (n = 137) were allowed to talk to fellow patients and visitors during the treatment. In the intervention condition patients (n = 126) were requested not to talk to fellow patients and visitors during their treatment. This study measured the actual sound levels in dB(A) as well as patients’ preferences regarding sound and their perceptions of the physical environment, anxiety, and quality of health care. A linear-mixed-model showed a statistically significant, but rather small reduction of the non-talking rule on the actual sound level with an average of 1.1 dB(A). Half of the patients preferred a talking condition (57%), around one-third of the patients had no preference (36%), and 7% of the patients preferred a non-talking condition. Our results suggest that patients who preferred non-talking, perceived the environment more negatively compared to the majority of patients and perceived higher levels of anxiety. Results showed no significant effect of the experimental conditions on patient perceptions. In conclusion, a non-talking rule of conduct only minimally reduced the actual sound level and did not influence the perception of patients.
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This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
Despite their various appealing features, drones also have some undesirable side-effects. One of them is the psychoacoustic effect that originates from their buzzing noise that causes significant noise pollutions. This has an effect on nature (animals run away) and on humans (noise nuisance and thus stress and health problems). In addition, these buzzing noises contribute to alerting criminals when low-flying drones are deployed for safety and security applications. Therefore, there is an urgent demand from SMEs for practical knowledge and technologies that make existing drones silent, which is the main focus of this project. This project contributes directly to the KET Digital Innovations\Robotics and multiple themes of the top sectors: Agriculture, Water and Food, Health & Care and Safety. The main objective of this project is: Investigate the desirability and possibilities of extremely silent drone technologies for agriculture, public space and safety This is an innovative project and there exist no such drone technology that attempts to reduce the noises coming from drones. The knowledge within this project will be converted into the first proof-of-concepts that makes the technology the first Minimum Viable Product suitable for market evaluations. The partners of this project include WhisperUAV, which has designed the first concept of a silent drone. As a fiber-reinforced 3D composite component printer, Fiberneering plays a crucial role in the (further) development of silent drone technologies into testable prototypes. Sorama is involved as an expert company in the context of mapping the sound fields in and around drones. The University of Twente is involved as a consultant and co-developer, and Research group of mechatronics at Saxion is involved as concept developer, system and user requirement verifier and validator. As an unmanned systems innovation cluster, Space53 will be involved as innovation and networking consultant.
Het project “Maakprocessen Compositie en Sound Design - Stimulering van creatie in de creatieve werkvelden door middel van onderzoek door makers voor makers” is tot stand gekomen in samenspraak met de BCMM (Beroepsvereniging Componisten Multimedia) en zeven componisten en sound designers. Het project beoogt een goed voorbeeld te ontwikkelen van de manier waarop componisten en sound designers kunnen samenwerken aan het ontwikkelen van maakprocessen zonder dat dit te veel tijd kost. Deze professionalisering is ook nodig omdat componisten en sound designers, net als andere professionals in de creatieve werkvelden, steeds duidelijker moeten kunnen communiceren met derden over hun manier van werken. Het is de bedoeling het project te relateren aan een tweede KIEM-aanvraag en een RAAKmkb-aanvraag in dit resp. het komende jaar. De outputs zijn, naast de professionalisering van de betrokken componisten en sound designers, presentaties voor collega-componisten van deze manier van samenwerken en hetgeen het oplevert, en een publicatie van lessons learned door het lectoraat.
